The Birmingham Post from Birmingham, West Midlands, England • 12

lEVV AFT-TS REVIEW ARTS THE WEEK ARTS REVIEW A' THEATRE A GOOD many stories of the am talking about theatre fiction, not about smaller than life and several times less natural. It is hard, for some reason, to fix upon the page the true feeling of a fictitious theatre. Too often the torches refuse to burn. Naturally, I except some masters. Both Dickens and Thackpray could reproduce the glow almost the naphtha-flare of their period.

Oscar Wilde, in Dorian Grey, has a crudely effective bit of over-writing. Quiller-Couch's boy at the pantomime in his semi-autobiographical The Ship of Stars is real enough; and I am fond of his Press-gang sailors in the gallery tfnxn The Mayor of Troy), though here he did a certain amount of mild and justifiable shuffling with the periods. Ma.sefield has a most reasonable premiere in that early and often forgotten novel, Multitude and Solitude first act had been received coldly: the cast was nervous, and the house. critical as a first-night audience always is, had begun to And at a later date we have had Maugham, Priestley good on both the old music-hall and the concert-party, and none better at evoking the physical presence of a building and, most recently and almost at random. Margaret Drabble.

It would be foolish of me to seek to offer a full list of candidates. There are so many. But, generally speaking, we have had far more efforts than successes. And brief tales of quality are few: even so great a craftsman as Kipling kept from the theatre except in a few examples I have discussed elsewhere. Because of this I welcome Guy Slater's attempt in Best Theatre Stories (Faber, 258.: published on Monday) to get 13 within a volume that runs in time from Oliver Goldsmith to last year.

Mr. Slater says he has chosen stories that show how the theatre "creates a particular way of life for those involved in it." It is a reasonable aspiration, and I think the volume succeeds, though such tales as The Trouper, by Jack Tams, and the really fine Shot Story, by E. Bates, appear to me to come s)nly Just within the bounds of the book. am not going to argue needleasly because practically every story in the cast gives the right J. C.

TREWIN: FICTION OF THE STAGE kind of performance: some, thou by Dickens (a Boz sketch), Saki Dream and Maugham and Jetsam, about the rubber planter's wife who had been an familiar performances, but none the less welcome for that. The tale I find so notable is hardly a story at all. Written by Barry Davis and called There's No Business Like No Business, it is a quietly alarming and, I agree, unpleasant document of the actor on the edge of his world. It begins on a Saturday night in early spring "in the middle of one the dirtiest little mill towns in England." It ends when the narrator is on his way back to the same town or one like it. During the intervening period he has tired of the worst kind of weekly gone to London, and far too soon became "less preoccupied with my professional standing and rather more with eating regularly." There is sad truth here that the profession will recognise.

In 11 pages Mr. Davis sets down with pointed unsentimental directness just what a minor player's life can be in both the worst brand of "never-never circus" the National Theatre of the North such companies as these, I think, are in the agents' offices and the booming smalltalk of the Charing Cross Road pub. This is plain reporting, especially the pub scene: "Nobody listened, they were all too busy planning the next conversation. It was all like one great mannequin parade where the supreme mark of failure was to be anonymous: even the faces seemed to have had their features simplified and caricatured to make them stick in the memory." It is the only new piece in the book, and Mr. Slater has certainly found something.

His other choices include a typical 0. Henry surprise ending: 0. Henry. by the way, might have liked the new National Theatre piece, The Advertisement, which no doubt some people in this drop-the-Censor week will despise because its language is moderate and it does not go to silly lengths. Dorothy Parker's uncomfortable little story about the actress who is somebody else off-stage is also in Mr.

Slater's book. So are Stevenson's "novella." Providence and the Guitar, which can grow on one: and Noel Coward's Ashes of Roses. An old fashioned look at Baroque By Dr. PETER CANNON-BROOKES Keeper of the Department of Art, Bermingham Art Gallery VULGAR, flamboyant, theatrical, are all criticisms which have been levelled often at Baroque sculpture; but flamboyant as compared to what? All such criticisms presuppose a hypothetical norm from which the artist is thought to have deviated more or less. Are we not then liable to be the victims of our own preconceptions and commit the fundamental error of trying to assess Baroque art in terms of 20th century values? Certainly this would be the right approach in any attempt to assess the relevance of Barocque art to 20th century society, but to attempt any Judgment with regard to artistic quality the would-be critic must first ask what were the religious.

social and political aspirations of the period. Only then can a balanced understanding be reached as to the extent to which a given work of art is a reflection of the milieu in which it was created. So often we discover that the very qualities now felt to be unfamiliar or even objectionable were those most highly valued by the society of the time. These problems are brought to the fore in the new permanent display of Baroque sculpture at the City Museum and Art Gal-lery, and, in particular, by the ecent ly-acquired terracotta modello by Ercole errata. The modello is almost certainly that submitted to Don Camillo Pamphilj, the nephew of Pope Innocent in 1660, and it was once in the collection of Prince Doria-Pamphilj in Rome.

Ferrata made this design for one of the most important altars in the church of S. Agnese in Piazza Navona in Rome. but the full-size marble relief was left unfinished at his death in 1686. and in 1689 the commission was entrusted to Leonardo Reti who finally completed it in 1705. The scene depicted is the martyrdom of S.

Zmerenziana. and it may be asked why an obscure saint is given such prominence in this important Roman Baroque church. She was the foster-sister of St. Agnes, to whom the church was dedicated, and she was stoned to death two days atter St. Agnes's martyrdom while praying beside her grave.

In the modello St. Agnes floats in the clouds (identified MUSIC A RE we justified in believing that the recently-concluded Birmingham Triennial Music Festival signalled the revival of an event which, in its day. had this city in the forefront of the national musical life? I do not think so. It may be argued that it was not the event that was being revived but the idea that Birmingham should have a festival of its own, and it will certainly be argued that as far as it went the 1968 festival was a success. This I will concede though I suppose it depends what one means by a festival, and it depends even more on what one conceives the extent of a festival to be.

If, as has been argued with some Justice, all that is implied is seven concerts in a row for which you pay higher prices. then this has been a festival all right. On the credit side and we owe Mr. Caldicot. the Entertainment Officer, a debt of gratitude for his hard work in getting the machinery going and keeping it smoothly In motion), we had visits fiorn several international artists and one of our finest national orchestras to enliven what in almost every other respect was a fairly run-of-the- mill addition to the season's musx-making.

But these alone, in my view, do not make a festival. They are not even the whole of the basic Ingredients Special artists are important: so is what they play. There have been a number of comments about the contents of the programmes, not all of them complimentary by any means. We know, or at least we are constantly being told, that there is an almost pathological resistance in Birmingham to any music composed after 1900, and the boycotting of programmes containing it seems at times to bear this out. But let us look back to 1912 for a moment.

In that last genuine triennial festival there were no fewer than five first performances in six concerts. The works heard were. for their time, a pretty enterprising lot and they comprised Elgar's The Music Makers, a cantata by Watford Davies, Bantock's rifthe at the Fair, Sibelius's Fourth Symphony conducted by the composer, and Scriabin's Prometheus. KENNETH DOMMETT: FINAL THOUGHTS ON THE BIRMINGHAM TRIENNIAL This last did not in fact take they were advised, and place, but there were a number of the success of the one new work other newish works in the series that did appear goes some way besides, Elgar's The Apostles, towards vindicating the argu- Sea Drift and Strauss's Don merit for more courage. Quixote with Casals as soloist But financial considerations are among them.

important, and where the money This tally compares very is donated entirely from local favourably with our present government funds these consulshowing of only two post-1918 erations assume an importance compositions. It is to be hoped greater than they should. One that the success of Bennett's cannot expect to run any festival Piano Concerto and Rostropo- without the co-operation of local vitch's magnificent account of the government, but I am doubtful Britten will have gone some way of the wisdom of allowing it to towards disposing of this par- remain a local government ticular bogeyman. All the same, monopoly for several reasons, not it is not a very impressive least being the one of overachievement or a very creditable cautiousness. testimony to the courage of the Several months ago a gentle- Festival Committee.

man wrote to The an! I have no doubt that the Post urging thut if the festival largely non-musical members of happened at all it should be this body were prepared to allow launched with something really themselves to be advised about splendiferous. His idea was a perwhat should be played, and It formance of Mahler's Eighth. may be that they were urged to This is quite impracticable at adopt a policy of caution rather present, but he had the right than risk financial failure by idea. We needed something out attempting an artistic coup de of the ordinary, something to main. If this is so.

I feel that catch the national eye and ear. but I am afraid we were unable to rise to the occasion. And the occasion was psychologically more important perhaps than the organisers realised. A 200th anniversary has more publicity value than a 203rd anniversary will have in 1971, and 1968. the bi-centenary year, was the time to cash in on the public respect for anniversaries.

Where is the money to come from? Obviously it cannot all come out of public funds, nor, I feel, should it. I am told that some approach was made to industry for funds in this case. Not being a member of the committee I do not know what form this approach took, but it seems to have got a rather dusty answer. If this is true it shows up Birmingham's industry in a very poor light. One can point to instances up and down the country of industrial organisations who sponsor artistic enterprises in exchange for advertisement.

And there are several instances Farnham is the classic case where festival events are sponsored by small traders. Go to Edinburgh, to Aldeburgh, to Cheltenham during their festivals and you will find shop windows displaying invitations to the visitor to enjoy their festival while they are spending some of their money. And why not? If you walked along New Street or Corporation Street last week I would be surprised to hear that You would have known there was a festival on. This lack of communication is real and it is chronic. I have spoken to many people during this past fortnight in the city who did not know anything about either the Triennial tradition or this particular festival.

And some of my London colleagues who came to hear the Bennett were surprised to find that it was part of a festival. If we are to put this festival back on the map and if we really are interested in making Birmingham a place that the musically literate and the musically curious will want to come to we have got to break out of our terrifying apathy in artistic matters. We ought not to be prepared lust to leave it all to somebody else, particularly to shadowy patrons who are duty-bound to keep one eye on the rate money. WEEKEND EVENTS NEXT WEEK MIDLAND MAGAZINE The modelle of the martyrdom of S. Int eeeee aerie.

which is on view at Birmingham City Art Gallery. by her lamb) while an angel swoops down to bring to 8. Emerenziana the martyr's crown and palm. The other female mourners meanwhile recoil in horror from the brutal men stoning her. Theatrical? Yes.

Flamboyant? Perhaps, but why did Ferrata choose to depict the scene in this way The figure of the saint Is isolated dramatically in the centre of the oomposition, and she is momentarily at rest in contrast to the movement of the figures to each side. But her knees are bent and Ferrata has selected the most dramatic moment of all in the action, the moment she begins to crumple under the impact of the stones. The swooping angel has almost reached her, while St. Agnes points the way to heaven. It is theatrical, but also extremely realistic, and for the source of these ideas one must back to the previous century.

The sack of Rome in 1527 was a traumatic experience for much of Western Christendom and it hastened on the reform embodied in the Council of Trent, but it was not until the last session of the council in 1563 that the reformers turned their attention to the problems presented by art. The new demands they placed upon artists in the second half of the lath century laid great emphasis on the role of art as a servant of the Church. Religious art was to be as realistic as possible. with the subject matter clearly intelligible to the ordinary person, and the finished work was to be a strong emotional stimulus to piety. In Rome these demands were put into effect by the long series of Counter Reformation popes and the dry propaganda nature of much of the art produced there in the last decades of the 16th century reflects the uncompromising austerity of the times.

By 1600 the effects of the reforms were beginning to be felt strongly and the Roman Catholic Church was no longer on the defensive. The spread of Protestantimn had been considerably reduced and. as a result of the efforts of the new orders such as the Jesuits. many areas of Europe had. in fact.

returned to the old faith. With the new century came a new sense of optimism in Italy and this is felt through most 17th century Italian art. The Spiritual exercises of St. Ignatius of the founder of the Jesuits, invited the worshipper in his imagination to experience the torments of the martyrs, and even to imagine the sensation of being a corpse. These ideas, of course, were closely allied to the demand that religious art should be an emotional stimulus to piety, and the strong sensuality of much Baroque sculpture is seen in this context to be part of the Baroque demand for realism and immediacy.

The great contribution made by Bernini to the evolution of Baroque sculpture was his highly developed semse of drama and dynamism, and this he passed on to his pupil and collaborator, Errol. Ferrata. The Stoning of S. Emerenziana reveals the realism and intelligibility demanded by the Counter Reformation, together with the strong sense of drama and dynamism characteristic of the High Baroque, and those combine together to create a very intimate relationship between the work of art and the worshipper. No longer is the worshipper a passive detached spectator; he has become emotionally involved in the aotion.

and the altarpiece presents a very real emotional stimulus to piety. The subject Is treated theatrically so as to gain the maximum impact on the worshipper and all the power of the altarpiece is directed towards this end. We, to the 20th century, may be made uncomfortable or even embarrassed, but to the Baroque worshipper the result was a brilliant success. 1 -r The Birmingham Post, Saturday, September 28, 188 A RMS BY MICHAEL BILLINGTON WE have had to wait a long time for Albert Finney's Charlie Babbles. Now that, after a year or so on the shelf, it has at last reached London, I hope there won't be any unnecessary delay in sending it out on release.

Par, although the film sometimes dwells a little too lovingly on each point it has made, it puts Albert Pinney in that select band of young British directors whose next work one eagerly anticipates. It's a film about success: about the feeling of alienation from one's surroundings that it can cause and about the creative inertia that it can sometimes bring with it. Mr. Pinney plays a prosperous writer (astonishingly free with the note tips even for a writer. who has hit the Jackpot) who goes on a Joyless drinking bout with a boozy churn.

sets out on a Journey north to see his divorced wife and child. fails to make much emotional contact with either of them and finally leaps into a balloon and floats off into the skies. The film clearly has some autobiographical basis and it is this perhaps that helps to give it its knotty strength and assurance. It also has some excellent individual sequences; the lonely author surveying the workings of his household on a complicated, closed-circuit television system like some gadget-crazy voyageur, the awkward encounter with an erstwhile lover in a cavernous motorway restaurant and the listless. routine love-making with a devoted American secretary.

Shelagh Delaney's script is perhaps a shade slender but as an exploration of a particular kind of emptiness and isolation. It is extremely effective and Mr. Pinney's direction shows a remarkable feeling for mood and atmosphere. The film Is also very well acted with especially good supporting performances from Colin Blakely. Liza Minnelli and Billie Whitelaw.

It astonishes me. incidentally, that no one before seems to have exploited Miss Whilelaw's remarkable cinematic potential; at a time when the screen seems to be littered with fluffy blondes. all of whom look more of less alike, it's rather refreshing to see someone with a mature and earthly sexappeal. Another study of alienation has also just arrived in London: The Stranger, based on Albert WHAT'S NEW IN LONDON Camus's novel. The ORtister.

and directed by Luchino Visconti. Baldly summarised, it's the story of a shipping-cierk in pre-war Algiers who kills a young Arab boy who has been tailing a friend of his, finds himself standing trial for his life and oondemned through series of crucial misund trigs of his character and his actions. It is his final reedy acceptance of death, however. that makes him a free man again. Obviously it's a difficult book to film if only because it deals so much in philosophical concepts such as the nature of freedom and truth.

Visconti, however, brings it off mainly because of scrupulous attention to circumstantial detail. It is exciting on a number of different levels. The second half has all the tension inherent in courtroom drama. The Algerian background is very skilfully etched in by Visconti. And there are a brace of gond performances from such actors as Marcello Mastroianni.

Bernard Slier, Georges Wilson and Anna Karina. It is also reassuring to find a film that is prepared to deal with ideas on something more than an infant pruner level and that at the end leaves one mentally stimulated. The one other really satisfying film in a very crowded month has been The Detective. which I recommend to all fans of Sinatra and to all lovers of the tough American thriller. This one is about a dedicated cop who finds himself drawn into reopening a case that has been passed oif as suicide.

The deeper he digs, the more he finds a good deal of dirt involving high-ranking city officials. To go on with inquiries means professional suicide: to stop means certain promotion. I leave you to find out which course he takes. Abby Mann's script provides a fairly credible portrait of the American police force. Gordon Douglas directs with a nice eye for detail and Frank Sinatra plays the cop with surprisingly gentle authority.

The only jarring note is the fact that the cops wife has to be a nymphomaniac and not even Remick can quite disguise the absurdity of the role. Otherwise. for those who like the genre, an impressive film. I wish I could like rather more Decline and Fall a Birdwatcher, adapted from Evelyn Waugh's novel with reasonable fidelity and containing very good performances frm Donald Wolf it. Robert Harris, Leo McKern and Donald Sinden.

However where Waugh is crisp and witty the film tends to be flabby and over-elaborate. AND IN BIRMINGHAM, Prfilm version of Myer! at the Gaurnont. is an elaborate spectacle offering the Oliver Twist story. as told in words and music by Lionel Bart. with a gloss that does not completely hide the meanness and villainy of Dickens's London.

Strong acting performances Ron Moody as a lovable old Fagin, Shanl Wallis as the lovable young girl friend of Bill Sikes, Harry Secombe as the lovable old workhouse superintendent (despite his fearsome manner). Oliver Reed as the lovable (by his girl friend) Bill Sikes, and others in a similar manner, including Mark Lester (Oliver). and Jack Wild (the Artful Dodger) help to make this an entertaining film, stylishly directed by Carol Reed. Possibly the most important of next week's films is Perseus at the Cinephone. 'This is an obscure and difficult work directed and written by Ingmar Bergman, portraying the relationship between two women.

one a nurse alibi Anderson). the other her patient (Ur Ullmann). A brief description of the story is likely to be of little help to a potential audience, and many eminent critics have written thousands of words on their view of the filmS purpose. To add one more viewpoint: It seems to be an examination of BY JAMES CLAYTON the personality and of the nurse as she reacts against her mute patient, but the manner of the telling at her story confuses reality with fantasy, and clues are difficult to detect. The film supports Vivre Pew Vivre, which has.

Yves Montand. Candice Bergen and Annie Chrardot in an overlong story about a television reporter who has difficulty deceiving his wife. It lacks interest and drama. and has a tendency suddenly to dart away from the main (but weak) story line for no clear reason. Al 3 Ca Coleshill Street and New Street have Walt Until Dark, with Audrey Hepburn as a blind woman who is besieged and attacked in her home by three thugs after her husband has been lured away.

It starts slowly but gathers pace with a compelling momentum that builds to a climax of great tension. tine entertainment, but if you have a nervous disposition. keep away. The Scala has Sway Lake, with Fonteyn and Nurevev in the leading roles The Futurist has The Devil Rides Out, with Christopher Lee. The Odeon keeps The Geod, The Bad and The Ugly, with Clint Eastwood.

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7 30 Sirwe far fik, OAI.OIO. St. 01 30 Ls. Swimet Arum. Erisbnies et Umbers' wort.

E. Ai Street (USW o.l.Peef H. WIN Suds" Casa' and anima. ll 2 Sunday services 15 a.m. a rr moral wheelie V.

Chad's 131rmialltam Mass 7 am. ads. 9 A.m.. High Mass 10 Mass Noon. Evening Mar p.m..

KMICO 6.30 p.m. Cossatry Cattmtral: Matteis (Chapel of the Grout 9.30 a.m. Pa grans Prams 10 30a.m ins at Noseleigh 10.30 a.m.. Eyessoag 3 the Lilies. Maskspv.e4 5..30 p.m..

Tess hordes Serves 7 Clearway Cathedral: Lttany 7.15 Holy Communion II a dad preaches. Use Deals of Gloucester 10 30 Holy tom 11.45 a Evensong 3 p.m.. Enemas TiUnkSfinag Service 4.30 pan. Nankai Cathedral: KM? 001.1111111120/1 The Etvlutrist 940 a.m.. Matta.

11 Ereasoes 6.30 pm. LlehlteM Cathedral. Holy Contatuatoa am. Mousing Prayer 9.30 a.m.. Ordi satsna 10 30 Evening Prayer 3.30 preacher.

Res. I. Yates. Warm's, Oldisdral Litaay 7.45 a.m.. Holy Commiaams 6 a Mattes 10.30 a.m.

Suag bacharat 11.30 Evensong Here amiss 57:7 1111 rrw Mus eomis se 1.13 VA it 40 a Fssr Cams Inss Gems 11 Hamm Gams gems Gems 41.110 Can Los. Clews: Meesees Unice. Rey. P. Beam.

10 45 0.. Same, Rey. Hubbar4. 630 p.m. Sneed novels 41 Christ SS Street.

amitias Seteeme 11 as. and 6 30 tn. 501414464. 1 Cltrlst.44l4law Eceleoat "Cbrlst the is Coming." A Cfticry. Dgrwth C.vn 10.45 A.

01.. Dr. Moose. 6.30 Hinniomaism MhoMo. Corporation Monstaa, Ite E.

J. tail.ve. 11 add. Am K. W.

6.30 ja PmallayroeMo of Halm, 304- Mom Molt Mamas Prayer. 10 PM 7lmokanied Serena. 10.30 am. swam Scnool. 3.15 on.

Service. 0 P.m. Haelsorm Clued. 010 Read. IMrlorme Hely Casammatos.

a and 913 a.m. 'dome 10 15 am. Matins. tow. R.

J. I. A. G. Mataalyea.

fr. 3 Clomen. Sony HP: Half COMIMIaaI P. a 30 a Olnlerreirs Church 10 a.m Moreana Prover. Rev.

Hotegtheisa. 11 a et. Enema Prayer. Rae Wriltams. 6 SO pm.

34. Ammorim's, Ednlmaroot Holy Car a ThainnliviMl. Par Ri chard. 10 30 am. Eno.

wns. Pee Rlchards. 630 pm. Sc. Solelvaalim Cnovelt.

24. Langtior load. Smolt tram: Address and Clanvosarted Mrs. Keen. 6.30 sam.

Si. Mho's. HIP Wpm: Mattes. Mr. G.

11 C.a. Int end Bandy Osten, Moroacoo. 6.30 Chor P.m of IM llotioamor Haan Rood: flvest retinal. 'Rey D. E.

Sestria. 11 a Unreal. D. F. Smith.

6 3 0 pm. Clalocadlaiplalan Han. Moms Chnot the Kona ea Canting." speaker. Mr. A.

wnaaay. 030 prn Vnitorlan amen of tho Maosialt. Woof Strom ccccc Fen Ret. A H. 111011aa 11 fotalaa Thanksamot.

he. A H. Prin. 6.30 pm. 91.

Join's. Serneford Hoed. sporkitill: SPIV Commie ton. II a in. Flew Church Harem Gsh Service.

Rm. F. Goosed 10.30 am. Harvest Evanang. Camas Met e.

6.30 p.m. Sr. Mlelmara CMareft. Hamaswevella Holy Cornmamiat. am.

Camnpanioa, the Archdeacon of lirtninahans, 930 am. Salmon Evemona. In E. 6.30 a m. W.

Pliellohnfa Clesanit. KMO Narrow Holy krOGNIKINIOR a aM. Harvest Festival. w. B.

Marta. 11 a.m Hamm Poo veal. Eseasoas. Came Norman Poorer. 38 en.

Krarsoto P6r6o amen: Holy 00.1.0810 a. a 11. fa 7.30 pea. Famtly Sonia. Caeca Newt 411 a.m.

Mattes. CAMS Fore 11 a.m. A. 6.30 pad. MIDLAND THEATRES Tonight RADIO Boris Godunoa: A Russian recording of Musaorvicy famous dramatic opera.

(Radio 3. 7.0). Should Intellectuals Try to Make In' Lord Annan examines the attitudes of intellectuals in the U.S. and this country towards the achievement of public success. Radio 3.

9.10). Tuesday 01)mpir Harold Abrahams. the only Englishman to Ann a medal for the 100 metres Introduces some famous gold medallists from the put. (Radio 9.0 Wednesday First Encounter: New series In which a radio personality meets a man or woman of his or her choice for the first time This time Jack de Ma'am and Barbara Castle. (Radio 4.

930 p.m.). Friday Children In Cities: Short talk by Patrick Nuttgens, who argues that cities are becoming a "mounting hall' for families and ponders on wha. Is being done to restore a proper place for children. (Radio 4. 9.10 p.m.).

BIRMINGHAM Alexandra Theatre: The Repertory Company stage Dracula, with guest artirt Valentine Dyall. for the second and final week. Performances: Monday to Friday. 7.15 p.m.: Saturday. 5.26 p.m.

and p.m.; matinee. Wednesday 2.30 p.m. On Sunday. October 6, at 7.30 DM. Joyce Orenfell presents a programme of monologues and songs.

with Willram Blezara at the piano Repertory Theatre: The Merchant of Venice. directed by Peter Dews. opens on Tuesday for a montlha run. Peter Shaffer's two plays, Whit. Liars and Black Comedy, continue for another four-week period.

The Merchant of Venice is presented on Tuesday. Wednesday. Thursday and Saturday evenings, and Wednesday and Saturday afternoons. White Liars and Black Comedy is staged on Friday. Performances: Evenings 7.15 p.m.: matinees.

2.30 p.m. Midlands Arts Centre: Three Wishes, a play intended for children up to the age of 10-11. opens on Tuesday. and will remain in repertoire until the middle of December. Performances: Tuesday and Saturday, 2.30 p.m.; Wednesday.

Thursday and Priday. 10 am. and 2.30 p.m. Crescent Theatre: The Department of Drama and Theatre Arta, in collaboration with the Department of German, Birmingham University, are presenting a new English version of Costliest; Faust from Wednesday to Saturday Performances: Nightly at 7.15 p.m. CHELTENHAM Everyman Theatre: The annual Cheltenham Festival of Literature is being held in the theatre all the week, at II p.m.

nightly. COVENTRY Belgrade Theatre: Leo Tolstoy's War and Peace runs for a third and final week. Performances: Monday to Friday. 7.30 p.m.; Wednesday matinee 2.30 p.m.: Saturday. 6 p.m.

and 8 p.m. Coventry Theatre: The Royal Ballet Menem enters I final week at the theatre Monotones Noe. 1 and 2 and Glselle is presented on Monday. Tuesday and Wednesday evening and Tuesday afternoon Blood Wedding and Mam zelle Angot is staged on Thursday. Friday and Saturday evenings and Saturday afternoon.

Nightly. 7.30 p.m.: matinee on Tuesday and Saturday. 2.30 p.m. LEAMINGTON Loft Theatre: Noel Coward's Private Uves, produced by Robert Collingridie. continues for a second and final week.

Performances: Nightly, 7.30 p.m MALVERN Festival Theatre: The Orpheus Opera returns with Rossini's The Barber of Seville on Thursday evening and Wednesday afternoon Verdi's La Travfata is performed on Saturday afternoon and evening Performances: Evenings. 730 p.m. matinees 210 p.m. NOTTINGHAM Playhouse: Jonathan Millers production of The School for Scandal opens on WednsedaY. ft i also staged on Thursday and Friday King JMn by finskeware.

is presented on Saturday afternoon and evening. Performances: Thusday and Friday. 730 p.m Saturday 3 p.m. and p.m. STRATFORD-UPON-AVON Royal Shakespeare Theatre: King Lear.

Monday evening and Thursday matinee. As You Like It. Tuesday and Friday everung; Doctor Faustus is presented on Wednesday evening and Saturday matinee. and Troilus and Cressida on Thursday and Saturday evenings. Performances: Monday to Saturday evenings 730 2 p.m.

WORCESTER Siren Theatre: The Worcester Repertory Out Theatre Group are staging for three nights. from Wedneeday to A Player '4 Proxress. a thesrtneal depiction of the development of the theatre in England. Performances: Each night. 7.30 p.m.

Children's Theatre Lon Saturday morning at 10.43 am Humphrey Lyttelton and his seater give a jazz concert on Saturday evening. 1.30 p.m. MUSIC Today: St. Paula Church. Birmingham.

Norman Dyson (organ), Orchestra da Camera (Butt). 7.30 p.m. Monday: Shaftesbury Ball. Cheltenham. Aeolian string Quartet.

p.m. Wednesday: Town Hall. Birmingham. Organ recital, 1.15 m. Thursday: Town Hall.

Bizmangham. Nathan Milstein (vio- CB SO 7.30 Answers to Family Quiz 1. In Westminster Abbey. He was reputed to be 162 years old and to have lived in ten reigns. 2.

Victoria Heckellle-West. 3. At December. 1960. 4.

Three. 5. Of law and justice. 6. Miranda (The Tempest.

V. Plated sad published by TM Ilibastadhas Pea Mad at Coimbra Ctreat, latrabiabaa 4. 021-2 3344 Lambe 016.1. N. Fleet Sams.

C. 4. llitimehea at Coved gr Du a. Tame Mat Ilreamelds sad TELEVISION Monday 'Sherlock IBBC-1. 9.51.

A treat for the addicts. First of two-part dramatisation of The Hound of the Beakervines." Tuesday Tomorrow's World (BB 0-1. 9 31. A Irtmny Thing Happened on the Way to the Garbage Dump." Self-explanatory documentary about waste In modern societ y. Eight Da's In August (HBO-1.

10.80). Documentary Kanul Winter. former Head of News, Czech Television. about the Russian invasion of his country and the Czech reaction to it. The Root of AU Ern (ITV, 10.30).

New series of pays about the conftlets treated in peoples lives by money. Wednesday Pressler, (ITV. 9.0). A live play gives viewers the lirs. tunity for some direct oritiokint Prizes for the beet critics.

Friday live ringer Exercise II TV. 7.0). Allistar cast in this nisi version of Peter Sheffer's successful play yours( German who finds himself the centre of domestic crisis. 200 YEARS AGO Corke This evening a melancholy accident happened at the Salthouse on the Mall. A cask of powder, which had been placed on the counter, by sorne means got fire and a man and woman that happened to be near it got so miserably wounded that there is not the least prospect of their reoovery.

Birmingham Gazette, September. 1768. 100 YEARS AGO A would be fenlain a burly native of Ireland. named Thomas Ward was charged with loitering in John Street. with intent to cause a disturbance.

An officer took him to the station where three large stones were found In his pockets. He was tined 10s. The Birmingham Dairy Poat, September 28. 1868. for realism you need POST STUDIOS COMMERCIAL Colour WEDDING PORTRAIT Photography THE BIRMINGHAM POST STUDIOS, 22 COLMORE CIRCUS, BIRMINGHAM 4.

021-2383366 357-689 A COMPLETE PHOTOGRAPHIC SERVICE 50 YEARS AGO The queue system has not entirelY nissrVeszed in 51rrn1netarn and its continued existance la au to the citizens and not to the MOPkeepers. Many butchers have devised schemes of their own for the distribution of their meat and customers attend at stated periods for their supplies. The Birmingham Post, September 28, 1918. I ''4 A vie if, 1 11 44, 1 4. -f 4 so' .11 4 )'' idol id ii i 4 4 4--zi I A lire 1 1 i 1 .4 4 1.4 7 1 .11111) ,0 I 4 4' 044 4.21.

i 4, 10 at ifilliff 1 4 4..4) 4111).